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Posts written during 'June 2012'

Check out all of the posts written during 'June 2012' below. If you still can't find what you are looking for, try searching using the form within the right side navigation of this page.

Fred Perry x Bradley Wiggins - coming soon

One of the key things that attracted us to collaborate with Bradley Wiggins, one of Britain’s greatest cyclists, is his love and appreciation of 1960s clothing and design. His sharp wit and style have won him fans on and off the tarmac. Technical skin tight fabrics in bright colours form the mainstay of a cyclist's wardrobe, however Wiggins' collection for Fred Perry characteristically references the woollen jerseys sported by the cycling legends of the 1960s.

Vintage cycling tyres

The cycling jersey has been a mainstay of the mod wardrobe since the early 1960s. Slim fitting with a neat mock turtle neck and complete with continental allure, the merino wool tops offered a cooling alternative to the synthetic shirts widely available at the time.

In their truest form (when used in races) cycling jerseys hold great prestige, with different colour jerseys signifying a riders ranking. Perhaps the most famous and coveted jersey is the Tour de France's ‘maillot jaune’ (yellow jersey). The rider with the lowest overall time at the end of each stage receives the ceremonial yellow jersey and the right to start the next stage wearing the colour.

Vintage cycling figurines

Wiggins is hotly tipped to be the first ever Brit to win the Tour de France this year, which starts tomorrow, the 30th of June.

The Fred Perry x Bradley Wiggins range launches instore and online mid July marking the start of a 6 season collaboration.

The East End Film Festival - Amy Winehouse

The East End Film Festival (EEFF) opens on the 3rd July with a tribute to unique musical talent, Amy Winehouse. EEFF is held in London’s East End and attracts an audience of around 30,000 people annually, making it one of the UK’s largest film festivals. The rich and diverse programme aims to discover, support and exhibit pioneering work by local and independent film makers.

The Amy Winehouse film ‘The Day She Came to Dingle’ combines never- before- seen concert and archive footage, offering a glimpse into the world of a true musical icon. The film explores her deep affection for jazz, soul and gospel and contains footage of arguably one of her best ever performances. The performance was recorded back in 2006 in an atmospheric church in the small Irish fishing village of Dingle shortly before she gained international fame.The screening will take place in beautiful, gothic Hawksmoor Church of St. Anne’s in Limehouse, and will be supported by an evening of live music, cocktails and an after party.

http://www.eastendfilmfestival.com/programme/1693/arena-amy-winehouse

DON LETTS - CULTURE CLASH, CHAPTER 10

One Hundred Nights at The Roxy

The Roxy Club was started by Andrew Czezowski as a direct response to an emerging scene that already had a new soundtrack and a new attitude, but no place to play. Andrew was aware of the buzz created by the music I was playing in the shop, so he asked me to DJ there on a regular basis, and I hesitantly took the job. It meant I was perfectly placed to witness the most exciting and inspiring period of my life. There were no UK punk records to play as none had been made yet. So in between the fast and furious punk sets I played some serious dub reggae, although I did spin some MC5, Stooges, Ramones and New York Dolls. Most of the upcoming punk bands owned the first two Dolls’ albums and many actually learned to play by listening to the Ramones’ debut album. Speed was usually the drug of choice whilst listening to the Detroit garage bands, but once that heavy bass dropped on a Prince Far I track like “Under Heavy Manners”, spliffs were definitely the order of the day. There was only one deck working at the Roxy, and I never played requests. The Roxy opened in what had been an old gay club called Chagaramas in Covent Garden. It had a small upstairs reception room with a bar, and downstairs was a stage and dance-floor surrounded by bench seats and mirrored walls. It completed the third essential ingredient of any serious musical movement; the bands, a set of characters and an HQ or a base where these elements could feed off each other. I went back to Forest Hill and when I told my brethren I’d got the gig DJ’ing at the Roxy they burst out laughing. I mentioned Andrew was looking for staff, and they basically told me to take a hike. But eventually I got them to come down to the Roxy, and they saw an untapped herb market and the girls. A week later all my Rasta mates from Forest Hill were working at the Roxy.

                

The punks couldn’t roll their own spliffs, so the guys swiftly decided to sell ready-rolled ones behind the bar. I can remember Shane McGowan coming up and saying, “Give me a spliff and two beers please,” and after a moment’s hesitation, “No make that two spliffs and one beer!” There was some serious cultural exchange going on in the Roxy. I played my dub reggae sounds in between sets by The Clash, The Damned, Siouxsie and the Banshees, Buzzcocks, The Slits and Generation X and to name just a few. And for a brief moment in time there was indeed a punky reggae party. Inspired by the punk DIY ethic (and seeing the Pistols), punk bands started springing up all over the UK and the Roxy was where many got their first break. All the hardcore dub stuff I was playing was the antithesis of punk, which was speedy. I came to realise that it was really a welcome break having these dub interludes between the punk bands cause it has to be said that 70% of them were shit, real rubbish in amongst moments of genius. Of course this was around the time that the ‘pogo’ phenomenon erupted on the dance floor (some say courtesy of Sid Vicious) along with that other strange punk habit: ‘gobbing’—basically the audience spitting at the bands while they performed. I have to stress that during ‘our’ period at the Roxy, nobody gobbed at anybody. Partially because the scene hadn’t deteriorated into the post-Grundy tabloid-punk circus it became, but mostly because of Big Joe (one of my Rasta bredrin), who was effectively a bouncer who stood in front of the stage while the bands performed.

                       

The Clash played at the Roxy on January 1st 1977. I couldn’t understand a word they were singing, but the energy was like being hit over the head with a plank. You couldn’t just be a fan, you wanted to be part of it, you wanted to get involved. Watching the Clash or the Pistols on stage was like somebody dropping a match into a box of fireworks. I already had Bob Marley, dub and roots reggae, and added the Clash and the Sex Pistols—it was like having lightning in one hand and thunder in the other. Even though I had my own anti-establishment thing going with reggae, seeing the Pistols and the Clash live for the first time was a cultural year l zero. I was lucky enough to see The Pistols play live at Brunel University, the Nashville and at the Screen on the Green, which I filmed and formed part of what would later become The Punk Rock Movie. Sometimes after the Roxy finished I take John Lydon, Joe Strummer or Arianna from the Slits to the Four Aces reggae club in Dalston. It was the heaviest reggae club in the country and Lydon, Strummer and Arianna would be the only white faces in the dance. They got a lot of respect, mainly because they had the balls to walk in the club in the first place.

                       

One time I took Joe to the Hammersmith Palais, a night that would inspire him to write “White Man in Hammersmith Palais”. He had gone down there to see this roots rockers ghetto kind of show, not realising that the brothers back home were not reveling in a ghetto lifestyle. The ghetto is something that you get out of, not into, and Joe had a romanticised idea of what ghetto life was about. So what Joe describes in the song was getting something quite glam and glitzy and being taken by that. The Clash and Johnny Rotten understood and aligned themselves with reggae’s revolutionary stance and ruthless hate of the establishment. All this energy came out in such a short space of time. During the days I’d be working at Acme, before leaving for my evening stint at the Roxy. In between spinning my tunes I’d watch the bands I liked, or laugh at the ones I didn’t. The original Roxy only lasted for 100 days and during that period it was like going on tour without moving such was the turnover of live acts on a nightly basis. At the end of March 1977 the landlords ousted Andy with a view to taking the club over so my bredrin and me’ walked as a show of solidarity.

Read all posts by Don Letts HERE